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(PVG Mixed Folio). The most current southern gospel songbook on the market, this value-priced, spiral-bound collection from Daywind offers P/V/G arrangements of dozens of today's radio favorites most in print for the first time! Includes: More Than Ever * I Rest My Case at the Cross * The Healer * Day Three * She Cries * Soon We Will See * He Calms Me * The Call * Safe Thus Far * Try Jesus * I Believe * The Key * Mary Knew * Teardrops * and more.
Guide to the Euphonium Repertoire is the most definitive publication on the status of the euphonium in the history of this often misunderstood and frequently under-appreciated instrument. This volume documents the rich history, the wealth of repertoire, and the incredible discography of the euphonium. Music educators, composers/arrangers, instrument historians, performers on other instruments, and students of the euphonium (baritone horn, tenor tuba, etc.) will find the exhaustive research evident in this volume's pages to be compelling and comprehensive. Contributors are Lloyd Bone, Brian L. Bowman, Neal Corwell, Adam Frey, Marc Dickman, Bryce Edwards, Seth D. Fletcher, Carroll Gotcher, Atticus Hensley, Lisa M. Hocking, Sharon Huff, Kenneth R. Kroesche, R. Winston Morris, John Mueller, Michael B. O'Connor, Eric Paull, Joseph Skillen, Kelly Thomas, Demondrae Thurman, Matthew J. Tropman, and Mark J. Walker.
The Encyclopedia of American Gospel Music is the first comprehensive reference to cover this important American musical form. Coverage includes all aspects of both African-American and white gospel from history and performers to recording techniques and styles as well as the influence of gospel on different musical genres and cultural trends.
Comprehensive and richly illustrated, Close Harmony traces the development of the music known as southern gospel from its antebellum origins to its twentieth-century emergence as a vibrant musical industry driven by the world of radio, television, recordings, and concert promotions. Marked by smooth, tight harmonies and a lyrical focus on the message of Christian salvation, southern gospel--particularly the white gospel quartet tradition--had its roots in nineteenth-century shape-note singing. The spread of white gospel music is intricately connected to the people who based their livelihoods on it, and Close Harmony is filled with the stories of artists and groups such as Frank Stamps, the Chuck Wagon Gang, the Blackwood Brothers, the Rangers, the Swanee River Boys, the Statesmen, and the Oak Ridge Boys. The book also explores changing relations between black and white artists and shows how, following the civil rights movement, white gospel was influenced by black gospel, bluegrass, rock, metal, and, later, rap. With Christian music sales topping the $600 million mark at the close of the twentieth century, Close Harmony explores the history of an important and influential segment of the thriving gospel industry.
As children, many of us learn to sing, "If you're happy and you know it, clap your hands." But despite the familiarity of this tune, few of us realize that what we're singing is actually part of a pervasive - and centuries-old - musical scheme. This particular scheme, dubbed the "Sweet Thing," has generated a large group of songs spanning a broad range of topics, genres, and time periods, but all related through a specific stanzaic form. Early twentieth-century blues songs "My Baby" and "Motherless Children," country songs "Peg and Awl" and "Crawdad Song," and gospel songs "Pure Religion" and "This Train" use this form, along with popular songs like Ray Charles's "I Got a Woman," The Beatles's "One After 909," and the Velvet Underground's "I'm Waiting for the Man." Sweet Thing: The History and Musical Structure of a Shared American Vernacular Form studies one of the most productive and enduring shared musical resources in North American vernacular music. Author Nicholas Stoia offers the most comprehensive examination to date of the "Sweet Thing's" long history, exploring how it made its way from sixteenth-century Scotland to eighteenth-century British broadside ballads to nineteenth-century American ragtime. Stoia also examines the form in various contexts, including early blues and country music, and moving forward to rhythm and blues, soul, and rock music, connecting these modern forms to their ancient roots. Through this close look at a ubiquitous musical from, Sweet Thing shows us how it has linked listeners and musicians alike across the boundaries of genre, race, and even time.
Following three years of ethnomusicological fieldwork on the sacred singing traditions of evangelical Christians in North-East Scotland and Northern Isles coastal communities, Frances Wilkins documents and analyses current singing practices in this book by placing them historically and contemporaneously within their respective faith communities. In ascertaining who the singers were and why, when, where, how and what they chose to sing, the study explores a number of related questions. How has sacred singing contributed to the establishment and reinforcement of individual and group identities both in the church and wider community? What is the process by which specific regional repertoires and styles develop? Which organisations and venues have been particularly conducive to the development of sacred singing in the community? How does the subject matter of songs relate to the immediate environment of coastal inhabitants? How and why has gospel singing in coastal communities changed? These questions are answered with comprehensive reference to interview material, fieldnotes, videography and audio field recordings. As one of the first pieces of ethnomusicological research into sacred music performance in Scotland, this ethnography draws important parallels between practices in the North East and elsewhere in the British Isles and across the globe.
Belligerent and evasive, Josef von Sternberg chose to ignore his illegitimate birth in Austria, deprived New York childhood, abusive father, and lack of education. The director who strutted onto the set in a turban, riding breeches, or a silk robe embraced his new persona as a world traveller, collected modern art, drove a Rolls Royce, and earned three times as much as the president. Von Sternberg traces the choices that carried the unique director from poverty in Vienna to power in Hollywood, including his eventual ostracism in Japan. Historian John Baxter reveals an artist few people knew: the aesthete who transformed Marlene Dietrich into an international star whose ambivalent sexuality and contradictory allure on-screen reflected an off-screen romance with the director. In his classic films The Blue Angel (1930), Morocco (1930), and Blonde Venus (1932), von Sternberg showcased his trademark visual style and revolutionary representations of sexuality. Drawing on firsthand conversations with von Sternberg and his son, Von Sternberg breaks past the classic Hollywood caricature to demystify and humanize this legendary director.